Vertical Still-life Photography

Trumpet Plant is from Beth Moon's series The Savage Garden. Printed in rich platinum/palladium, these intricate and formal portraits depict the delicate but dangerous nature of carni...

ABOUT THIS ARTIST: Neal Grundy is a freelance photographer with almost 20 years experience. He studied at Falmouth College of Arts in Cornwall, UK. Neal is...

Christian Rothmann ROBOTNICS Series C-Print 2019 Edition S (Edition of 10) 12 x 8.3 inches (30.5 x 21 cm) Signed, dated and numbered verso Other Edition Sizes available: - Edition M (Edition of 6) 35.4 x 23.6 inches (90 x 60 cm) - Edition L (Edition of 6) 47.2 x 31.5 inches (120 x 80 cm) - Edition XL (Edition of 3) 88.8 x 58.8 inches (225 x 150 cm) PUR - Price Upon Request -------------- Since 1979 Christian Rothmann had more than 40 solo and 80 group exhibitions worldwide. Christian Rothmann had guest lectures, residencies, art fairs and biennials in Europe, Japan, USA, Australia and Korea. Christian Rothmann (born 1954 in Kędzierzyn, Poland ) is a painter, photographer, and graphic artist.⁠ ⁠ In 1976 he first studied at the “Hochschule für Gestaltung” in Offenbach, Germany and moved to Berlin in 1977, where he graduated in 1983 at the “Hochschule der Künste”. From 1983 to 1995 he taught at the university as a lecturer and as an artist with a focus on screenprinting and American art history. To date, a versatile body of work has been created, which includes not only paintings but also long-standing photo projects, videos, and public art.⁠ ⁠ Guest lectures, teaching assignments, scholarships and exhibitions regularly lead Rothmann to travel home and abroad.⁠ ------------------------ Rothmann's Robots These creatures date back to another era, and they connect the past and the future. They were found by Christian Rothmann, a Berlin artist, collector and traveler through time and the world: In shops in Germany and Japan, Israel and America, his keen eye picks out objects cast aside by previous generations, but which lend themselves to his own work. In a similar way, he came across a stash of historic toy robots of varied provenance collected by a Berlin gallery owner many years ago. Most of them were screwed and riveted together in the 1960s and 70s by Metal House, a Japanese company that still exists today. In systematically photographing these humanoids made of tin - and later plastic - Rothmann is paraphrasing the idea of appropriation art. Unknown names designed and made the toys, which some five decades on, Rothmann depicts and emblematizes in his extensive photo sequence. In their photographs of Selim Varol's vast toy collection, his German colleagues Daniel and Geo Fuchs captured both the stereotypical and individual in plastic figures that imitate superheroes which were and still are generally manufactured somewhere in Asia. Christian Rothmann looks his robots deep in their artificially stylized, painted or corrugated eyes - or more aptly, their eye slits - and although each has a certain degree of individuality, the little figures remain unknown to us; they project nothing and are not alter egos. Rothmann trains his lens on their faces and expressions, and thus, his portraits are born. Up extremely close, dust, dents, and rust become visible. In other words, what we see is time-traces of time that has passed since the figures were made, or during their period in a Berlin attic, and - considering that he robots date back to Rothmann's childhood - time lived by the photographer and recipients of his pictures. But unlike dolls, these mechanical robots bear no reference to the ideal of beauty at the time of their manufacture, and their features are in no way modeled on a concrete child's face. In this art project the robots appear as figures without a context, photographed face-on, cropped in front of a neutral background and reduced to their qualities of form. But beyond the reproduction and documentation a game with surfaces is going on; our view lingers on the outer skin of the object, or on the layer over it. The inside - which can be found beneath - is to an extent metaphysical, occurring inside the observer's mind. Only rarely is there anything to see behind the robot's helmet. When an occasional human face does peer out, it turns the figure into a robot-like protective casing for an astronaut of the future. If we really stop and think about modern toys, let's say those produced from the mid 20th century, when Disney and Marvel films were already stimulating a massive appetite for merchandising, the question must be: do such fantasy and hybrid creatures belong, does something like artificial intelligence already belong to the broader community of humans and animals? It is already a decade or two since the wave of Tamagotchis washed in from Japan, moved children to feed and entertain their newly born electronic chicks in the way they would a real pet, or to run the risk of seeing them die. It was a new form of artificial life, but the relationship between people and machines becomes problematic when the machines or humanoid robots have excellent fine motor skills and artificial intelligence and sensitivity on a par with, or even greater than that of humans. Luckily we have not reached that point yet, even if Hollywood adaptations would have us believe we are not far away. Rothmann's robots are initially sweet toys, and each toy is known to have a different effect on children and adults. They are conceived by (adult) designers as a means of translating or retelling history or reality through miniature animals, knights, and soldiers. In the case of monsters, mythical creatures, and robots, it is more about creating visions of the future and parallel worlds. Certainly, since the success of fantasy books and films such as Lord of the Rings or The Hobbit, we see the potential for vast enthusiasm for such parallel worlds. Successful computer and online games such as World of Warcraft...

Printed in rich platinum/palladium, these intricate and formal portraits depict the delicate but dangerous nature of carnivorous plants. "The poetic sensibility of nature seems to h...

"Sexy Miami Futuristic Cocktail Lounge" is a series of photographs by Ryan Rivadeneyra inspired by the Art Deco colors of Miami that show beautiful objects and textures arranged meti...

'Room No. 503' (Strange Love) - 2010 128x125cm, Edition of 5, analog C-Print printed on Fuji Archive Paper, hand-printed by the artist based on the Polaroid, signature label and ...

Ginger Alpinia purpurata, 2017 by Miguel Winograd From the Series "Matas" Pigment Prints Sheet Size: 43.3 in H x 36.2 in W Image Size: 37.8 in H x 30.7 in W Edition of 5 + 2AP Blac...

'Hand in hand' London, United Kingdom 2018 Limited edition of 20.

Eton College School Windsor England 1980s by Homer Sykes oversize 40x30 inches / 101 x 76 cm paper size signed limited edition print edition of 5 only this size printed 2022 Certificate of authenticity provided Homer Sykes Sykes's father, Homer Warwick Sykes, was a Canadian-born American of English extraction who worked for the China National Aviation Corporation in Shanghai; his mother, Helen Grimmitt, was Canadian-born and raised in Hong Kong. The couple were married in August 1947, but in June 1948, in an early stage of his wife's pregnancy, Homer was killed in an accident at Lunghua airfield. Helen returned to her family home in Vancouver, and the son was born three weeks later, in 1949.[1][2] When the boy's mother remarried in 1954, the family moved to England.[3] Homer was a keen photographer as a teenager, with a darkroom both at home and at boarding school. In 1968 he started a three-year course at the London College of Printing (LCP),[1][3] while sharing a house in St John's Wood.[4] In the summer vacation during his first year, he went to New York, and was impressed by the work of current photographers – Cartier-Bresson, Davidson, Friedlander, Frank, Uzzle and Winogrand – that he saw at the Museum of Modern Art.[3] Solo exhibitions "Traditional British Calendar Customs", Arnolfini Gallery (Bristol), 1977;[14] Side Gallery (Newcastle), 31 August – 25 September 1977.[15] "Shanghai Odyssey", Open Eye Gallery (Liverpool), 24 May – 20 June 2003.[14][16] Festival of Photography and Contemporary Art (Biella), 2005.[14] "On the Road Again", Hereford Town Hall (Hereford Photography Festival), 2002.[17] "Green Man and Friends, photographs from the 1970s", WPS (Hastings), 2009.[18] "England 1970–1980", Maison de la photographie Robert Doisneau (Gentilly, Paris), 27 June – 12 October 2014.[10][11][19][20] "My Britain 1970–1980", Les Douches la Galerie, Paris. 5 September – 31 October 2015.[21][22][23] "Once a Year – Homer Sykes", Lucy Bell Gallery, St Leonards-on-Sea, May–June 2021[24] Other exhibitions "Personal Views 1850–1970", British Council touring exhibition, 1970.[3] "Traditional Country Customs" (with work by Benjamin Stone), ICA (London), 1971.[3][14] "Young British Photographers", Museum of Modern Art (Oxford), 1971.[14] Exhibition of photographs by Stone and Sykes of festivals, customs and pageants, Southampton and Birmingham, 1973.[7] "Reportage Fotografen", Museum des 20. Jahrhunderts (Vienna), 1978.[14] "Il Regno Unito si diverte". British Council, Milan, 1981. With Chris Steele-Perkins and Patrick Ward.[25] "The Other Britain", National Theatre (London), and touring in Britain, 1982.[26] "A British Eye on the World", Museum of Modern Art (Rio de Janeiro), 1986.[14] "Viva, une agence photographique", Jeu de Paume (Paris), 2007.[27][28] "How We Are: Photographing Britain." Tate Britain (London), 2007.[29][30] "No Such Thing as Society: Photography in Britain 1968–1987", Aberystwyth Arts Centre; Tullie House (Carlisle); Ujazdów Castle (Warsaw).[31] "Unpopular culture." De La Warr Pavilion (Bexhill), 2008.[32] "The Other Britain Revisited: Photographs from New Society", Victoria and Albert Museum, 2010.[26] "Goodbye London: Radical art and politics in the seventies", Neue Gesellschaft für Bildende Kunst (Berlin), 26 June – 15 August 2010. With Stuart Brisley, Victor Burgin, David Hall, Margaret Harrison, Derek...

The past year afforded more time than normal for stillness and observation. I am thrilled to be alive and sentient. I love making things, whether it be building a guitar, cooking a m...

Flora 10 is a Giclée print on Ultra Bright Hahnemuehle paper, available in this size only from a Limited Edition of 6. Culatto's new series 'Flora' features a selection of plant lif...

Flora 11 is a Giclée print on Ultra Bright Hahnemuehle paper, available in this size only from a Limited Edition of 6. Culatto's new series 'Flora' features a selection of plant lif...

Flora 12 is a Giclée print on Ultra Bright Hahnemuehle paper, available in this size only from a Limited Edition of 6. Culatto's new series 'Flora' features a selection of plant lif...

Flora 9 is a Giclée print on Ultra Bright Hahnemuehle paper, available in this size only from a Limited Edition of 6. Culatto's new series 'Flora' features a selection of plant life...

Flora 8 is a Giclée print on Ultra Bright Hahnemuehle paper, available in this size only from a Limited Edition of 6. Culatto's new series 'Flora' features a selection of plant life...

Peachtree Street, 2019 by Ying Chen From the series "Lost In Transition". Archival pigment print Image size: 80 in. H x 60 in. W Edition of 5 + 1AP Unframed ...

"I am a professional food and still life photographer with over 30 years experience based in New York City. My attention to detail and strong sense of composition has allowed me to ...

Persephone II by Erik Pawassar 40 x 31 inches (102 x 79cm) edition of 25 signed 62 x 48 inches (157 x 122cm) edition of 7 signed archival fine art pigment print signed & numbered...

Printed in rich platinum/palladium, these intricate and formal portraits depict the delicate but dangerous nature of carnivorous plants. "The poetic sensibility of nature seems to h...

'TV Capsule' Castelloland 27.5 in. H x 19.6 in. W Edition of 1/3 Digital photographs on glossy pearlescent paper 2015 _______________________ Paloma Castello born 1988 Bogotá, Colo...

Still life with a Wooden Hanger, Antwerp, 2011 by Michael James O’Brien Printed on Hahnemuhle fine art photo rag paper Image size: 36 in. H x 24 in. W E...

Martin’s innovative photographs are created from plants grown by himself in his garden and greenhouse in Cambridge. A keen horticulturist, he cultivates his own plants and flowers, t...

Covid Vanitas: The Pandemic Still Lifes On the first day of quarantine I began photographing the people-less quiet of a home and studio in isolation. The still lifes are a visual j...

Palm Reflections by Stuart Möller Oversize 40 x 30" inches / 101 x 76 cm paper size Archival pigment print signed and numbered in pencil by artist on front Unframed (framing ava...

6002, 2022 by Salvatore Arnone From the ONE series Photographic print on Hahnemuhle paper Paper size: 105 H x 86.5 W cm. Printed area: 61.5 H x 43 W cm. Edition of 3 Unframed Despit...

An old fashioned yellow petrol pump, an item that Richard likes to "collect", sitting amongst green ivy. Photographed in Stow Bardolph, Norfolk. This artw...

ABOUT THIS PIECE: Julia Stotz is a food and still life photographer that strives to capture the simple everyday moment with a sense of sincerity and wonder. Her food still-life’s sho...

Color still life photograph of a figurative olive branch, brick, chestnuts, and shotgun shells "Brick, Chestnut, Shotgun Shells" photographed in Greece by David Halliday in 2017 21 x...

Le Marais - Signed limited edition archival pigment print, 2005 - Edition of 5 This is an Archival Pigment print on fiber based paper ( Hahnemühle Photo Rag® Baryta 315 gsm , Aci...

Martin’s innovative photographs are created from plants grown by himself in his garden and greenhouse in Cambridge. A keen horticulturist, he cultivates his own plants and flowers, t...

Untitled #4, 2021 by Ying Chen From the series "There is an ocean in my glass II" Archival pigment print Image size: 80 in. H x 60 in. W Edition of 5 + 1AP Unframed There Is An Ocean In My Glass I have a reoccurring dream: scenery consisting of cloud filled Sky, fields of grass, and a body of water. In this foggy but colorful dream, the sky is cloudy, yet everything is brightly lit. there is a thick fog blurring my vision I cannot discern whether it is imagined or familiar scenes. I wanted to capture in photos how small flower cuttings can inspire/trigger those dreamt memories of landscapes. By composing nature figures into a photo, I wanted to represent how flower cutting can channel those dreamscapes in a photo. Stitch-like lines were added to make a person question if what they are seeing is paper cutting...

2009, pigment print photograph, 14 x 11 inches, Edition of 12 signed and numbered by the artist on the reverse William Wegman is a renowned photographer famous for his unique and ar...

"Covid Vanitas: The Pandemic Still Lifes" On the first day of quarantine I began photographing the people-less quiet of a home and studio in isolation. The still lifes are a visual ...

Please bear in mind that all prints are produced to order and lead times are expected between 15-20 days. Converse, Black Hi-Tops is a dynamic C-Type print, sold in this size in an ...

'Kosmotropia' 2016, Edition 1/10 plus 2 Artist Proofs. 60 × 46 × 0.8 cm. Digital Print based on collage with Lumen print, mounted under Plexi. Signed on verso with Certificate. Uriz...

ABOUT THIS ARTIST: Neal Grundy is a freelance photographer with almost 20 years experience. He studied at Falmouth College of Arts in Cornwall, UK. Neal is...

"My artwork is always in progress. There is not a goal. There is not a category for my work. It is all about enjoying the process of every moment. On a blank sheet of washi calli...

Breakfast Table, is a rare studio creation by Richard Heeps, inspired by a recent visit to Fleetwood, incorporating autobiographical elements, brought in to create a simple still lif...

ABOUT THIS ARTIST: Natasha Martin is an LA-based photographer who loves color and infusing dreamy-nostalgia into her work. She has created work for Prada, Miu Miu, and 24 Sèvres, and...

ABOUT THIS ARTIST: Natasha Martin is an LA-based photographer who loves color and infusing dreamy-nostalgia into her work. She has created work for Prada, Miu Miu, and 24 Sèvres, and...

For this body of works, Krag incorporates live and dry flowers, vines, moss, air plants and ocean driftwood creating botanical instruments that seem to touch on contrasting themes of vitality and decay. He creates breathing and dying objects deeply connected to the passing of time, stilled lives contemplating mortality and the brevity of beauty and life. Photography helps Kevin Krag...

Covid Vanitas: The Pandemic Still Lifes On the first day of quarantine I began photographing the people-less quiet of a home and studio in isolation. The still lifes are a visual j...

The iconic Roy's Motel sign on the famous Route 66 which is the backdrop to some of the best American road trips. Photograph by Richard Heeps as part of his...

The photography belongs to a cycle of photographies of NY, published in the book "New York", Verlag und Volk, Berlin 1967. Signed by the author on the back, certificate will be inclu...

Though this unique monotype looks like a woodcut or linocut, it is not. This is a cyanotype, a kind of lensless photography dating back to the 1800s. This butter yellow cyanotype sta...

Peony No.11 printed on archival Hahnemühle Photo Rag Baryta fine art paper, this limited edition piece measures 40 x 32 cm and is part of an exclusive series of 20 prints, each hand-...

This is a photograph of a stack of playing cards by Ralph Gibson. This image, produced as a chromogenic print, is offered by CLAMP in New York City.

The Heidler & Heeps collaborations are creative representations of Natasha Heidler and Richard Heeps’, personal past and their personalities. Tapes are significant in both their live...

North Shore Motel, from Richard Heeps Salton Sea series. Blue skies over this Californian classic mid-century modern Americana Motel exterior. Captured by Richard Heeps in the Salton...

Though this unique monotype looks like a woodcut or linocut, it is not. This is a cyanotype, a kind of lensless photography dating back to the 1800s, but the artist altered the ratio...

Covid Vanitas: The Pandemic Still Lifes On the first day of quarantine I began photographing the people-less quiet of a home and studio in isolation. The still lifes are a visual j...

Parisian Park from the Paris In Colour Series 1956-61 By Peter Cornelius Giant oversize 60 x 40 inches / 152 x 101 cm paper size Printed 2022 Archival pigment print Framing and size options available - Please enquire About: Peter Cornelius (1913–1970) was a German photographer and photojournalist. The goal he set himself was to capture: “the right colours at the right moment”. He was never concerned with a pure, apparently “right” picture of “reality”. After World War II, he began his career with reportage, landscape and sailing photography in his hometown Kiel. From the mid fifties, he specialised in colour photography as one of the first color photographers in Germany. In 1960 he became known to a larger public through the special exhibition Magie der Farbe (Magic of Colour) during the Photokina in Cologne. His best known work is a 1961 collection of colour photographs of Paris...

David Burdeny (b. 1968. Winnipeg, Canada) graduated with a Masters in Architecture and Interior Design and spent the early part of his career practicing in his field before establish...

“The creation of a thousand forests is in one acorn...” Ralph Waldo Emerson In the dirt. This is where life begins. The journey starts in darkness. Trees often inspire the gaze u...

This is an exclusive limited edition color Giclée print, printed on matte photographic paper. This exquisite still life photo, shows a classy bouquet beautifully lit with soft light...

Royal Albert Gratitude with Cherry, limited edition photograph, signed and numbered Eating is a physical need, but meals are a social ritual. Utilizing the passed down heirlooms of ...

Covid Vanitas: The Pandemic Still Lifes On the first day of quarantine I began photographing the people-less quiet of a home and studio in isolation. The still lifes are a visual j...

Covid Vanitas: The Pandemic Still Lifes On the first day of quarantine I began photographing the people-less quiet of a home and studio in isolation. The still lifes are a visual j...